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Negativehate

Solipsis

Review by Gary Hill

There is a whole subset of prog bands (Wolverine, for instance) that started as death metal acts and evolved into progressive rock. Listening to these guys it would be easy to believe that they are an act like that. The truth is, they started more as industrial music. The end result is the same, though. They produce a type of music that is as closely tied to extreme metal as it is to progressive rock like Dream Theater. Whatever the mix, though, these guys are definitely prog and definitely interesting. They really do remind me quite a bit of Wolverine.

This review is available in book format (hardcover and paperback) in Music Street Journal: 2017  Volume 6 at lulu.com/strangesound.

Track by Track Review
Sea of Perdition

Melodic and growing in a very organic way, this has elements of old school progressive rock merge with modern sounds like shoegaze. There are definitely things about this that make me think of King Crimson. After the two minute mark, though, that section peaks and then the rhythm section takes over from there. The instrumental only aspect fades as dreamy vocals join the mix, bringing a moody modern progressive rock sound to the piece. After this vocal movement they take us out into some killer instrumental territory. There are some great jams built into this that seem to merge modern and old school prog rock in classy ways. We're brought back to the song proper from there. We get some extreme metal vocals as this carries beyond that section.

The Expansion of the Universe

This comes in with something that's part Dream Theater and part thrash. That drives it for more than half a minute. Then they drop it way down and start a new building process with sounds similar to the first piece. They create familiar territory for the vocal segment, but then take it out into a jam that's very much fusion based from there. The cut continues to grow with more guitar based hard edged prog jamming from there. They take the cut through some shifts and changes before eventually dropping way down to moody modern prog for the next vocals. Again some extreme metal vocals show up, but this time they are more in the backdrop. When it builds upward later we get some screams over the top of a driving modern prog powerhouse jam. They work through and then drop it way down again to go forward. Eventually a more rocking movement emerges for more vocals, this time melodic sung ones. There is a quick instrumental return from earlier to end the piece.

Don’t Wake What You Create
The instrumental introduction is heavy and yet proggy. It works through and then drops back. They power up from there and extreme metal vocals are added to the mix. Musically it's not far removed from shoegaze. That section ends, and they bring it way down to continue. Eventually they work out from there for more melodic sounds with sung vocals. They move between a number of different modes and moods before dropping it back to end.
Beyond Aurora
This comes in mellow, slow moving and rather moody. Eventually it starts to rise up, gaining energy and focus as it moves forward. Dreamy vocals come over the top. They work through a number of shifts and changes. Eventually this turns out to a faster moving, but still very melodic, jam from there. They definitely bring in healthy helpings of shoegaze and dream pop type sounds as this evolves.  Around the seven and a half minute mark we get some extreme metal vocals added to the mix.
Waltzing on Algorithms
Synth sounds with a dark foreboding texture start this cut. It works out from there with a weird jazz-like structure. This instrumental is fairly short. It's also oddly compelling, given the strangeness of it.
Hyperborean Fields
Melodic but powered up prog rock opens this and moves it forward. They drop it way down for some intricate and mellower sounds to continue. Then a fast paced jam that makes me think of King Crimson a bit emerges. The cut continues to shift and change as it makes its way onward. Then a weird turn takes it into some rather dissonant fusion territory. Vocals come in over the top of a slightly more stripped back arrangement. The extended instrumental section that follows is a shifting and changing piece of modern prog brilliance. Don't get comfortable because you'll soon find yourself elsewhere, but the changes are gradual and organic. Eventually we're brought back to the song proper for more vocals. They works through more changes from there. At times it reaches toward space rock. There are some extreme metal vocals at the end.
Disintegration Waves
Mellow, synth sounds bring this number into being. It quickly shifts out to harder rocking music with a blast of extreme metal vocals. Those vocals drive over the top of more pure prog rock styled music. Melodic singing enters later as the cut continues to evolve. There is a slowed down mode later in the piece. The extreme metal vocals return around the six and a half minute mark. The cut works through a fairly extended instrumental section before finally ending.
 
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